In her dissertation Gender Perspectives in Vocal Performance Art, the author examine the history and aesthetics of the genre. The core of her work is a vocal database that focuses especially on the extended vocal techniques of the natural voice. In this article, she concentrates on the electronic aspect of vocal performance art. While she provides a brief historical overview of the developments of vocal performance art and its technological developments from the 1970s to the 1990s, the central question of this article is whether gender patterns exist when these practices are combined with electronic sound technologies.